TIFFANY & CO. Blue Book「Hidden Garden」纽约

TIFFANY & CO.（蒂芙尼）｜Blue Book 2026「Hidden Garden 隐秘花园」高级珠宝发布与展览｜2026-04-17｜纽约

Blue Book 是 TIFFANY 每年一次的高级珠宝发布，2026 年的名字是「Hidden Garden 隐秘花园」。场地在第五大道旗舰店 The Landmark 里，一座花园被搭进了楼里。

入口先是一段花架。白色金属格栅爬满墙面，格栅里嵌镜面，蝴蝶停在上头；顶上画着天空，藤蔓和花枝用细线勾出，再描一道金。地毯灰蓝，像水彩洇开。

再往里是一间石屋。立面灰石，屋顶铺木瓦，窗是铅条玻璃；门前一条碎石小径，两侧种薰衣草和常春藤。屋子不通向任何地方，它是布景，也是整场展览的封面。

珠宝放在玻璃柜和白色台座上。台座有高低，一件一个位置；柜里是暗的，前面打一束窄光，金属边细到几乎看不见框。

中段是一座六角凉亭，白漆金属框架，四面玻璃，顶上一圈花饰。亭中圆台上立着戴项链的胸像，台下围一圈蕨类，叶子垂到地毯。人绕着走，珠宝始终在视线中心。

另一间更像书房。墙板灰绿，嵌金色几何线，壁龛里放篮子、干花、石膏像和装框的画；大理石条案上两座玻璃罩，地上两只藤篮。这一间的光更暖。

天花是白的，嵌着一排排线性灯，光洗下来很平；落地窗外就是第五大道，车流与对面的楼被玻璃挡在外面。整场亮度压在室内，颜色只有绿、白、石灰和一点金。

制作上这是一次完整搭建：石屋、凉亭、花架、地毯全部定制，做完再拆，进不了库存。钱花在木工、金属、植栽和布光上，也花在工期上。

高级珠宝的传播靠图，图靠场景。官方图需要「花园」一眼可读，客人自己拍的照片也需要一个能站进去的背景；布景于是同时服务媒体拍摄、客户看货和二次传播。

这场发布卖的是一年里最贵的东西，场景就不能像商店。它得更像一次短期的美术馆，让客人在半小时内相信这些石头属于另一个地方。

Tiffany & Co. Blue Book 2026 — "Hidden Garden" April 2026 — New York Venue: The Landmark, Fifth Avenue Agency: LamodeenImages

Blue Book is Tiffany & Co.'s annual high jewellery collection, and the 2026 edition is called Hidden Garden. The setting was not a ballroom but The Landmark, the house's Fifth Avenue flagship, where a garden was built inside the building.

Visitors entered through a pergola. White metal trellis covered the walls, mirrors set into the lattice so the structure repeated itself, white butterflies fixed to the grid; overhead a painted sky, vines and flowering branches drawn in fine line and picked out in gold. The carpet was grey-blue, mottled like watercolour.

Beyond it stood a stone cottage. The facade was grey stone, the roof shingled, the windows leaded; a gravel path led to the door, lavender and ivy along both sides, low brick edging holding the beds. The cottage led nowhere. It was scenery, and it was also the cover image of the whole presentation.

Jewellery sat in glass vitrines and on white plinths at different heights, one piece to a position, dark behind and a narrow beam in front; the frames of the cases were drawn so thin they almost disappeared.

The middle of the installation was a hexagonal pavilion: white painted metal, glass on all sides, a ring of ornament at the top. On a round platform at its centre stood busts wearing necklaces, ferns at the base with fronds trailing onto the carpet. Visitors walked around it, so the jewellery stayed at the centre of the sightline wherever one stood.

A second room read as a study. Panels in sage green with gilt geometric inlay, niches holding baskets, dried flowers, plaster casts and framed drawings; on a marble-topped console two glass domes with pieces inside; two wicker baskets on the floor. The light here was warmer, later in the afternoon.

The ceiling was white with rows of linear recessed lights that washed everything evenly; full-height windows held Fifth Avenue outside, traffic and the facades opposite kept behind glass as a background. Brightness was held indoors, and the palette stayed close to green, white, limestone and a little gold.

As production, this was a full set build. Cottage, pavilion, pergola and carpet were all made for the occasion and would be struck afterwards, entering no inventory. The money went into joinery, metalwork, planting and lighting design, and into schedule, because design week and the launch calendar overlapped and the rooms had to hold both display and photography at once.

High jewellery is communicated through images, and images need a place to stand. The official photographs needed the idea of a garden to be legible at a glance; clients' own pictures needed a background worth standing in. The set therefore served three functions at once: press photography, private viewings, and the second circulation that happens on social platforms.

For the house, this launch sells the most expensive things it makes once a year, so the room cannot look like a shop. It has to behave like a museum for a few weeks, so that within half an hour a client believes the stones belong somewhere else. In a case library it is a study in converting retail space into narrative space: the investment sits entirely in the set, and the return sits entirely in the pictures.

Source: public information published by lamodeenimages.

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